Gold Songs review – story of love and longing in Mozambique’s desperately dangerous goldmines

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Ico Costa’s film follows a young man who leaves his sweetheart in search of better fortune in the perilous mines in the north of the country Love heartbreakingly clashes with economic difficulties in Ico Costa’s third feature, shot on location in Mozambique and featuring non-professional actors. The film opens on a gentle moment between Domingos (Domingos Marengula) and Neusia (Neusia Emídio Guiamba), their figures wrapped in the velvety half-light of the early dawn. Lying in bed together, the young couple sleepily talk of mundane trivialities but their tender gaze seems to speak louder than words; locked in each other’s arms, the pair will soon spend the rest of the film apart. Unsatisfied with the meagre earnings he makes from washing cars, Domingos leaves his home town for the dangerous goldmines in the north of the country. When he enters this precarious trade, the camera trails behind his footsteps as he passes through rocky terrains and makeshift tents. It’s an interesting styl...
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William Tell review – limbs fly as Claes Bang’s medieval hero rallies a Swiss army

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A classy cast plays it straight in this enjoyably daft action epic about the crossbow sharpshooter forced to shoot an apple from his son’s head

Nick Hamm lets rip with some gonzo Game of Thrones craziness in his retelling of the William Tell myth with a blue-chip cast. Limbs get chopped off in a style I haven’t seen since the days of Monty Python’s Black Knight. It’s the story of the 14th-century Swiss folk hero and crossbow artist, a peaceful farmer and huntsman who has endured continual tyranny and humiliation at the hands of his Austrian Habsburg masters, and finally rises up against them on a coward-of-the-county basis; the flashpoint being made to shoot an apple from his son’s head for the sneering amusement of the Habsburg nobleman Gessler.

It’s adapted by Hamm from the 1804 play by Schiller (not many action movies can boast that), but gives Tell a Muslim wife and adopted son that Schiller didn’t imagine; a flashback reveals this to be the result of Tell’s experiences in the Crusades, a time of bigoted cruelty. Hamm inserts into his movie some outrageous and enjoyable cod-Shakespearean dialogue.

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